II

At last the day came, and with several trunks and boxes full of clothes,
books, and pictures, I started, accompanied by an English valet, for Paris
and Art.

We all know the great grey and melancholy Gare du Nord, at half-past six in
the morning; and the miserable carriages, and the tall, haggard city. Pale,
sloppy, yellow houses; an oppressive absence of colour; a peculiar
bleakness in the streets. The _menagere_ hurries down the asphalte to
market; a dreadful _garcon de cafe_, with a napkin tied round his
throat, moves about some chairs, so decrepit and so solitary that it seems
impossible to imagine a human being sitting there. Where are the
Boulevards? where are the Champs Elysees? I asked myself; and feeling bound
to apologise for the appearance of the city, I explained to my valet that
we were passing through some by-streets, and returned to the study of a
French vocabulary. Nevertheless, when the time came to formulate a demand
for rooms, hot water, and a fire, I broke down, and the proprietress of the
hotel, who spoke English, had to be sent for.

My plans, so far as I had any, were to enter the beaux arts--Cabanel's
studio for preference; for I had then an intense and profound admiration
for that painter's work. I did not think much of the application I was told
I should have to make at the Embassy; my thoughts were fixed on the master,
and my one desire was to see him. To see him was easy, to speak to him was
another matter, and I had to wait three weeks, until I could hold a
conversation in French. How I achieved this feat I cannot say. I never
opened a book, I know, nor is it agreeable to think what my language must
have been like--like nothing ever heard under God's sky before, probably.
It was, however, sufficient to waste a good hour of the painter's time. I
told him of my artistic sympathies, what pictures I had seen of his in
London, and how much pleased I was with those then in his studio. He went
through the ordeal without flinching. He said he would be glad to have me
as a pupil....

But life in the beaux arts is rough, coarse, and rowdy. The model sits only
three times a week: the other days we worked from the plaster cast; and to
be there by seven o'clock in the morning required so painful an effort of
will, that I glanced in terror down the dim and grey perspective of early
risings that awaited me; then, demoralised by the lassitude of Sunday, I
told my valet on Monday morning to leave t